Quaderno Culturale

Total Page:16

File Type:pdf, Size:1020Kb

Quaderno Culturale QUADERNO CULTURALE Queens College Italian Program Newsletter | Numero 7 | Department of European Languages & Literatures | Early Spring 2016 Guida alla lettura: An introduction to Numero sette Il settimo numero di Quaderno Culturale The seventh issue of Quaderno contiene informazioni sui corsi offerti Culturale features an outline of IN THIS ISSUE dal programma di italiano al Queens courses offered by the Italian College nel semestre primaverile 2016: Program at Queens College in Spring Career Quest corsi di lingua e letteratura italiana 2016: Elementary, Intermediate a livello principiante, intermedio, e and Advanced Italian language and 4 avanzato; corsi “writing-intensive” literature courses; writing-intensive insegnati in inglese; corsi “Euro,” e courses taught in English; Euro corsi di Master. Nella sezione Career courses; and master’s-level courses. Quest, vi invitiamo a conoscere la In Career Quest, we spotlight the Italian Trade Commission attraverso Italian Trade Commission through the gli occhi di una studentessa di italiano eyes of a student minoring in Italian Studenti dal vivo che ha avuto l’opportunità di visitare who had the opportunity to visit this questa agenzia l’estate scorsa. Ivette organization last summer. Ivette Maldonado, segretaria amministrativa Maldonado speaks with Quaderno 5 del dipartimento di lingue e letterature Culturale about her administrative europee, parla con il Quaderno delle work in the Department of European sue esperienze lavorative al Queens Languages and Literatures. Peter College. Un nostro studente nel major Arfsten, an Italian major, describes di italiano, Peter Arfsten, ci fa il his year studying at the Conservatorio resoconto dell’anno accademico che ha Invito alla lettura di Musica di Perugia. For Invito alla trascorso al Conservatorio di Musica di lettura, Luisanna Sardu reviews Perugia. In Invito alla lettura, Luisanna Nicola Lagioia’s La ferocia, which Sardu recensisce il nuovo romanzo di 8 won this year’s Premio Strega. In Nicola Lagioia, La ferocia, vincitore del Premio Strega 2015. Nella rubrica Andiamo al cinema! our film critic Andiamo al cinema! Luca Zamparini, Luca Zamparini reviews Nanni recensisce l’ultimo film di Nanni Moretti’s latest movie, Mia madre. Moretti, Mia madre. Inoltre, questo Last but not least, this issue covers numero di Quaderno Culturale contiene Prof. Eugenia Paulicelli’s most recent Amministratori informazioni sull’ultimo libro della prof. publication, Rosa Genoni: La Moda dal vivo ssa Eugenia Paulicelli, Rosa Genoni: è una storia seria, Milano Expo La Moda è una storia seria, Milano 1906 e la Grande Guerra; a series 14 Expo 1906 e la Grande Guerra; sugli of events and lectures organized by eventi organizzati dal Prof. Hermann Prof. Hermann Haller in October for Haller ad ottobre per la Settimana della the Settimana della lingua italiana nel lingua italiana nel mondo e sugli eventi mondo; and events and publications e le pubblicazioni organizzati dal John organized by the John D. Calandra D. Calandra Italian American Institute. Italian American Institute. Buona lettura! Buona lettura! The Queens College Italian Program Karina F. Attar and Morena Corradi [email protected]; [email protected] In Spring 2016, the Italian Program at Vittorini, Moravia, Calvino, Tabucchi, Queens College is offering 12 different and Goldoni. Students will also courses (with multiple sections for view and discuss an Italian film that language courses) at the undergraduate features Italian dialects combined level and two master’s-level courses. with standard Italian. Queens College students can major (36 credits above Italian 203) or minor • Italian 231: Skills and Art of (18 credits above Italian 112) in Italian. Translation I. The course introduces Students majoring or minoring in other students to the techniques and disciplines may elect to satisfy the problems of Italian-English and Queens College language requirement English-Italian translation through by taking any one of our courses taught discussions of the linguistic and in Italian.* A double major in Italian and cultural issues affecting meaning Secondary Education certifies students transfer from the original text. Texts to teach at the high school level. Our will be selected from literature required and elective 200- and 300-level (prose, poetry, criticism), journalism, courses give students the opportunity and specialized subject areas pertinent to expand their knowledge of Italian to students’ academic and/or language, literature, cinema, and culture. professional interests. Courses designated “W” are writing Italian Language Courses • Italian 346/Italian 711: Italian intensive; completion of two W Poetry from its Origins to courses (in any discipline) satisfies the • Italian 111: Elementary 1 (4 sections; the Trecento. Open to both Queens College writing requirement. for complete beginners) undergraduate and graduate students, Successful completion of College this course satisfies one of the 300-level • Italian 112: Elementary 2 (2 sections; Writing I (English 110) and College course requirements for the Italian for students who completed one to Writing II are prerequisites for major. Readings will include poetry two years of high school Italian) enrollment in W courses, which satisfy by major and minor Italian authors, either the Pathways Literature (LIT) • Italian 203: Intermediate 1 (2 sections; such as San Francesco d’Assisi, requirement or the PLAS European for students who completed two to Cecco Angiolieri, the scuola siciliana, Traditions (ET) and Reading Literatures three years of high school Italian). Dante, Boccaccio, and Petrarca. (RL) requirements. Two courses taught • Italian 204: Intermediate 2. This Showcasing the diversity of voices, in English may count toward the Italian required course for the Italian major styles, registers, preoccupations, and major, and one course taught in English prepares students for advanced courses contexts in Italian poetry from its may count toward the Italian minor. In on Italian culture and literature through origins to the fourteenth century, the addition, the Department of European review of grammar and syntax, as well course helps students develop an Languages and Literatures will offer as through discussion of literary and appreciation for the aesthetic, linguistic, one “Euro” course (required for the cinematic texts. The focus in this and formal aspects of medieval Italian Italian major). iteration of the course is on the Italian poetry, as well as an awareness of the culture and language of food. Students historical and cultural contingencies • Italian 41W: Italian Philosophical will also produce a booklet with all that shaped its composition. Fiction. “Philosophical fiction” is a loose definition that can apply to any their favorite recipes and memories. * Any one of the courses described above (from 111 to 346) can serve to satisfy the work that reflects on life/death, Advanced Courses in Italian Queens College language requirement. time/space, subjectivity, perception, Language and Literature and representation of the outside Undergraduate Courses world(s). This course focuses on three • Italian 208: Survey of Italian Taught in English of the most significant philosophical Prose from Boccaccio to Calvino. novels of modern Italian literature This course, required for the Italian In Spring 2016, the Italian Program will (Pirandello’s The Late Mattia Pascal, major, introduces students to selections offer three W courses on masterpieces Svevo’s Zeno’s Conscience, and Eco’s of Italian prose masterpieces by of Italian literature in translation, and The Name of the Rose), novels that Boccaccio, Machiavelli, Verga, Pirandello, one W course on Italian cinema. revolve around personal identity and 2 the relation between the individual encounter with gendered alterity in • Euro 202: The Romance and society, politics, and knowledge. Italian literature by focusing on its Languages in Europe and creative and imaginative dimensions as Beyond—Between Regional, • Italian 41W: The Emotions of well as its theoretical conditions of History in the 20th-Century National, and Global. This course possibility. Primary readings will include will introduce students to the great Italian Novel. This course focuses works by Compiuta Donzella, stil novo linguistic diversity of contemporary on 20th-century novels by Italian writers, Dante, Petrarch, Boccaccio, Europe, from its standard languages female writers in which historical and Catherine of Siena, Ariosto, Tasso, to regional and local varieties. political events play a central role in Veronica Gambara, Isabella Morra, Students will learn to appreciate shaping the fictional narrative. Vittoria Colonna, Diodata Saluzzo the similarities and differences of Ginzburg’s Lessico familiare, Morante’s Roero, Foscolo, and Leopardi. the grammar and lexicon of French, La Storia, and Sapienza’s L’arte della Italian, Spanish, and other Neo-Latin gioia embed history while at the same • Italian 250W: Filmopolis: Urban languages. We will study the origins of time challenging official, political, Spaces on the Italian Screen. Romance languages from Latin, their and historiographical accounts, The French critic André Bazin once gradual evolution through contact which typically exclude emotions said that Italian cities are by definition with other languages, the question as well as “marginal” people. The cinematic. He was referring to the of standard versus non-standard kind of knowledge we can gain from impact of urban space
Recommended publications
  • It 2.007 Vc Italian Films On
    1 UW-Madison Learning Support Services Van Hise Hall - Room 274 rev. May 3, 2019 SET CALL NUMBER: IT 2.007 VC ITALIAN FILMS ON VIDEO, (Various distributors, 1986-1989) TYPE OF PROGRAM: Italian culture and civilization; Films DESCRIPTION: A series of classic Italian films either produced in Italy, directed by Italian directors, or on Italian subjects. Most are subtitled in English. Individual times are given for each videocassette. VIDEOTAPES ARE FOR RESERVE USE IN THE MEDIA LIBRARY ONLY -- Instructors may check them out for up to 24 hours for previewing purposes or to show them in class. See the Media Catalog for film series in other languages. AUDIENCE: Students of Italian, Italian literature, Italian film FORMAT: VHS; NTSC; DVD CONTENTS CALL NUMBER Il 7 e l’8 IT2.007.151 Italy. 90 min. DVD, requires region free player. In Italian. Ficarra & Picone. 8 1/2 IT2.007.013 1963. Italian with English subtitles. 138 min. B/W. VHS or DVD.Directed by Frederico Fellini, with Marcello Mastroianni. Fellini's semi- autobiographical masterpiece. Portrayal of a film director during the course of making a film and finding himself trapped by his fears and insecurities. 1900 (Novocento) IT2.007.131 1977. Italy. DVD. In Italian w/English subtitles. 315 min. Directed by Bernardo Bertolucci. With Robert De niro, Gerard Depardieu, Burt Lancaster and Donald Sutherland. Epic about friendship and war in Italy. Accattone IT2.007.053 Italy. 1961. Italian with English subtitles. 100 min. B/W. VHS or DVD. Directed by Pier Paolo Pasolini. Pasolini's first feature film. In the slums of Rome, Accattone "The Sponger" lives off the earnings of a prostitute.
    [Show full text]
  • 9 Nicola Longo, Per Andrea Gareffi 11
    INDICE Rino Caputo, Habent sua fata libelli, ancora una volta! 9 Nicola Longo, Per Andrea Gareffi 11 IN PROSA E IN VERSI Eraldo Affinati, Ipatti dell'abisso 17 Edoardo Albinati, Sulle rovine 23 Claudio Damiani, Ad Andrea Gareffi, vero maestro 29 Milo De Angelis, Nella notte umana 31 Eugenio De Signoribus, All'amico distante 33 Paolo Febbraro, Sisifo 37 Marco Lodoli, Ilfreddo 39 Marco Lucchesi, Fiera trasparenza 41 Dante Maffia, Urbe 45 Valerio Magrelli, Le pastorelle pornografiche: divertimento alla maniera di Watteau 49 l'Iio Pecora, Ad Andrea Gareffi 51 Alessandro Piperno, Per Andrea G. L'inizio di un romando che non pubblicherò mai 53 Aurelio Picca, Andrea Gareffi è 61 Andrés Sànchez Robayna, En la tumba de Stéphane ÌAallarmé 65 STUDI Nicola Longo, Inferno, II, 88-89: «temer si dee di sole quelle cose / c'hannopotenza difare altrui male / de l'altre no ché non sonpaurose» 69 Luigi Surdich, L'ombra di Dante e le ombre dei peccatori 87 6 Indice Marco Ariani, Metafore della luce e mistica imperiale nella Monarchia di Dante Ili Carmen F. Bianco Valdés, Ì.M epifania amorosa en las Rimas de Giovanni Boccaccio ! 143 Marcello Ciccuto, Momo fra i libri di Alberti e Facio 159 Arnaldo Bruni, Per il teatro di Machiavelli: ragioni della scrittura e lascito alla modernità 169 Paolo Procaccioli, Da novella a exemplum a inciso. Nota sui destini testuali del Grasso legnaiuolo tra Quattro e Cinquecento 181 Tommaso Mozzati, Fe Cene del Lasca, il party più esclusivo. La traditone festiva a Firenze nel Cinquecento, tra allestimenti d'artista e memorie letterarie 197 Gian Mario Anselmi, Francesco Guicciardini tra storiografia, narra­ zione ed esperienza politica 221 Pasquale Guaragnella, Proverbi e sentente ne Lo Cunto de li cunti di Giambattista Basile 231 ; Guido Baldassarri, Vincenzo Monti e II Bardo della Selva Nera 257 Vincenzo De Caprio, Ossian, Acerbi e un 'immagine della Finlandia 293 Rino Caputo, Dello svolgimento del Risorgimento italiano: dalla lettera­ tura per la storia : 313 Gianni Venturi, Ah!..
    [Show full text]
  • Vérité Intime / Mia Madre De Nanni Moretti]
    Document generated on 09/27/2021 7:16 p.m. Ciné-Bulles Vérité intime Mia Madre de Nanni Moretti Frédéric Bouchard Dossier Diffusion du cinéma d’auteur Volume 34, Number 3, Summer 2016 URI: https://id.erudit.org/iderudit/82723ac See table of contents Publisher(s) Association des cinémas parallèles du Québec ISSN 0820-8921 (print) 1923-3221 (digital) Explore this journal Cite this review Bouchard, F. (2016). Review of [Vérité intime / Mia Madre de Nanni Moretti]. Ciné-Bulles, 34(3), 49–49. Tous droits réservés © Association des cinémas parallèles du Québec, 2016 This document is protected by copyright law. Use of the services of Érudit (including reproduction) is subject to its terms and conditions, which can be viewed online. https://apropos.erudit.org/en/users/policy-on-use/ This article is disseminated and preserved by Érudit. Érudit is a non-profit inter-university consortium of the Université de Montréal, Université Laval, and the Université du Québec à Montréal. Its mission is to promote and disseminate research. https://www.erudit.org/en/ CRITIQUES même s’il frôle la satire, n’est qu’un prétexte pour mieux exposer la sensibilité de Moretti. À l’évidence, lorsque Huggins révèle son triste secret à Margherita, c’est un sentiment de compassion et d’empathie qui se développe chez elle à l’égard du capricieux comédien. Bien que moins bouleversant que La Chambre du fils (2001), où la perte du fils bousculait profondément l’unité familiale, Mia Madre parvient néanmoins à toucher et à imprégner les esprits. La conclusion, lumineuse, effectue un beau travail de mémoire en célébrant la carrière d’ensei­ Mia Madre gnante de la mère de Margherita à travers de Nanni Moretti les témoignages d’anciens élèves.
    [Show full text]
  • Tmgm1de3.Pdf
    Melissa G. Moyer ANALYSIS OF CODE-SWITCHING IN GIBRALTAR Tesi doctoral dirigida per la Dra. Aránzazu Usandizaga Departament de Filologia Anglesa i de Germanística Universitat Autònoma de Barcelona 1992 To Jesús, Carol, and Robert ACKNOWLEDGMENTS The ¡dea of studying Gibraltar was first suggested to me by José Manuel Blecua in 1987 when I returned from completing a master's degree in Linguistics at Stanford University. The summer of that year I went back to California and after extensive library searches on language and Gibraltar, I discovered that little was known about the linguistic situation on "The Rock". The topic at that point had turned into a challenge for me. I immediately became impatient to find out whether it was really true that Gibraltarians spoke "a funny kind of English" with an Andalusian accent. It was José Manuel Blecua's excellent foresight and his helpful guidance throughout all stages of the fieldwork, writing, and revision that has made this dissertation possible. Another person without whom this dissertation would not have been completed is Aránzazu (Arancha) Usandizaga. As the official director she has pressured me when I've needed pressure, but she has also known when to adopt the role of a patient adviser. Her support and encouragement are much appreciated. I am also grateful to the English Department at the Universitat Autònoma de Barcelona chaired by Aránzazu Usandizaga and Andrew Monnickendam who granted me several short leaves from my teaching obligations in order to carry out the fieldwork on which this research is based. The rest of the English Department gang has provided support and shown their concern at all stages.
    [Show full text]
  • The Troubadours
    The Troubadours H.J. Chaytor The Project Gutenberg EBook of The Troubadours, by H.J. Chaytor This eBook is for the use of anyone anywhere at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at www.gutenberg.net Title: The Troubadours Author: H.J. Chaytor Release Date: May 27, 2004 [EBook #12456] Language: English and French Character set encoding: ASCII *** START OF THIS PROJECT GUTENBERG EBOOK THE TROUBADOURS *** Produced by Ted Garvin, Renald Levesque and the Online Distributed Proofreading Team. THE TROUBADOURS BY REV. H.J. CHAYTOR, M.A. AUTHOR OF "THE TROUBADOURS OF DANTE" ETC. Cambridge: at the University Press 1912 _With the exception of the coat of arms at the foot, the design on the title page is a reproduction of one used by the earliest known Cambridge printer, John Siberch, 1521_ PREFACE This book, it is hoped, may serve as an introduction to the literature of the Troubadours for readers who have no detailed or scientific knowledge of the subject. I have, therefore, chosen for treatment the Troubadours who are most famous or who display characteristics useful for the purpose of this book. Students who desire to pursue the subject will find further help in the works mentioned in the bibliography. The latter does not profess to be exhaustive, but I hope nothing of real importance has been omitted. H.J. CHAYTOR. THE COLLEGE, PLYMOUTH, March 1912. CONTENTS PREFACE CHAP. I. INTRODUCTORY II.
    [Show full text]
  • Ein Film Von NANNI MORETTI MIT MARGHERITA
    Ein Film von NANNI MORETTI MIT MARGHERITA BUY - JOHN TURTURRO GIULIA LAZZARINI - NANNI MORETTI BEATRICE MANCINI AB 17. DEZEMBER IM KINO 2 Dauer: 106 min Presse: http://www.frenetic.ch/espace-pro/details//++/id/969 Pressebetreuung DISTRIBUTION Rike Radtke FRENETIC FILMS prochaine sa Bachstrasse 9 • 8038 Zürich Tel. 044 488 44 24 Tel. 044 488 44 00 • Fax 044 488 44 11 [email protected] www.frenetic.ch SYNOPSIS Margherita hat es nicht leicht. Während sie sich um ihre alte Mutter Sorgen macht, muss sie als Regisseurin am Set ihres neusten Films ihre Autorität behaupten. Sie plagt sich mit den Launen des extra aus den USA eingeflogenen Hauptdarstellers (John Turturro) herum, wird von der pubertierenden Tochter vor den Kopf gestossen und ihr Bruder, gespielt von Nanni Moretti, ist mit seinen gut gemeinten, aber unnötigen Ratschlägen auch nicht immer die grosse Hilfe. GESPRÄCH MIT NANNI MORETTI Ist die von Margherita Buy in MIA MADRE gespielte Figur Ihr Double? Ich habe nie daran gedacht, die Hauptrolle meines Filmes zu spielen. Ich mache das schon seit einiger Zeit nicht mehr und ich bin auch froh darüber. Früher amüsierte es mich, heute habe ich nicht mehr die fixe Idee, meine Figur in jedem Film zu konstruieren. Ich habe immer eine Frau und eine Regisseurin vor Augen gehabt. Und dass diese Frau von Margherita Buy gespielt werden musste, hat einen einfachen Grund: Ein Film mit Margherita Buy in der Hauptrolle wird besser sein als einer mit mir in der Hauptrolle… Sie spielt viel besser als ich! Margherita hat das ganze Gewicht der Arbeit auf ihren Schultern getragen: Bei 70 Drehtagen war sie nur einen Tag abwesend – für eine Szene, die ich schliesslich wegeschnitten habe.
    [Show full text]
  • Cahiers D'études Italiennes, 32 | 2021
    Cahiers d’études italiennes 32 | 2021 Femmes aux multiples talents : entre littérature et d’autres pratiques intellectuelles et artistiques Anna Banti da «Paragone» all’«Approdo letterario». Venticinque anni di critica cinematografica d’autrice Anna Banti de « Paragone » à « L’Approdo letterario ». Vingt‑cinq ans de critique cinématographique d’auteure Anna Banti from “Paragone” to “L’Approdo letterario”. Twenty‑Five Years of Female Cinematographic Criticism Sara Da Ronch Edizione digitale URL: https://journals.openedition.org/cei/8897 DOI: 10.4000/cei.8897 ISSN: 2260-779X Editore UGA Éditions/Université Grenoble Alpes Edizione cartacea ISBN: 978-2-37747-257-4 ISSN: 1770-9571 Notizia bibliografica digitale Sara Da Ronch, «Anna Banti da «Paragone» all’«Approdo letterario». Venticinque anni di critica cinematografica d’autrice», Cahiers d’études italiennes [Online], 32 | 2021, online dal 01 mars 2021, consultato il 16 septembre 2021. URL: http://journals.openedition.org/cei/8897 ; DOI: https://doi.org/ 10.4000/cei.8897 Questo documento è stato generato automaticamente il 16 septembre 2021. © ELLUG Anna Banti da «Paragone» all’«Approdo letterario». Venticinque anni di critic... 1 Anna Banti da «Paragone» all’«Approdo letterario». Venticinque anni di critica cinematografica d’autrice Anna Banti de « Paragone » à « L’Approdo letterario ». Vingt‑cinq ans de critique cinématographique d’auteure Anna Banti from “Paragone” to “L’Approdo letterario”. Twenty‑Five Years of Female Cinematographic Criticism Sara Da Ronch 1. Introduzione 1 La rivalutazione del ruolo dell’intellettualità femminile all’interno della tradizione letteraria italiana è una tendenza in atto già da alcuni decenni, specie per quanto riguarda un secolo così vivo e fecondo qual è stato il Novecento.
    [Show full text]
  • On the Source of the Infinitive in Romance-Derived Pidgins and Creoles
    On the source of the infinitive in Romance-derived pidgins and creoles John M. Lipski The Pennsylvania State University Introduction A recent comic strip, resuscitating racial stereotypes which had purportedly disappeared at least a century ago, depicted a dialogue between a Spanish priest and an outrageous parody of an African `native.' The latter begins by addressing the priest as follows: Yo estar muy enojado. Yo haber tenido 10 hijos, "todos de color"! Ahora el 11vo. nacer blanco! Ud. ser el único hombre blanco en 200 km. Ud. deber "EXPLICARME." [I am very angry. I've had ten children, "all colored!" Now the 11th one has been born white! You are the only white man within 200 km. You must "explain to me."] This stereotype is confirmed by independent observations. Ferguson (1971: 143-4) says that `a speaker of Spanish who wishes to communicate with a foreigner who has little or no Spanish will typically use the infinitive of the verb or the third singular rather than the usual inflected forms, and he will use mi `my' for yo `I' and omit the definite and indefinite articles: mi ver soldado `me [to-] see soldier' for yo veo al soldado `I see the soldier.' Such Spanish is felt by native speakers of the language to be the way foreigners talk, and it can most readily be elicited from Spanish-speaking informants by asking them how foreigners speak.' Thompson (1991) presented native speakers of Spanish with options as how to address a newly-hired employee who spoke little Spanish. A large number of respondents preferred sentences with bare
    [Show full text]
  • Vita Da Strega Gli Anni D’Oro Del Premio, Nel Racconto Fotografico Di Carlo Riccardi
    MUSEO NAZIONALE ETRUSCO DI VILLA GIULIA Vita da Strega Gli anni d’oro del Premio, nel racconto fotografico di Carlo Riccardi Anteprima dal 29 giugno 2018 – In mostra dal 7 luglio al 30 settembre 2018 Museo Nazionale Etrusco di Villa Giulia Piazzale di Villa Giulia, 9 – Roma Le storie e i personaggi del Premio Strega nelle foto dell’Archivio Riccardi per la prima volta rivivono al Museo Nazionale Etrusco di Villa Giulia, la storica sede della finale della prestigiosa competizione. Un pezzo di vita italiana, un pezzo della vita culturale italiana, che anno dopo anno, dal 1947, vede in campo i maggiori scrittori italiani: è il Premio Strega. E “Vita da Strega” è l’evento che svela la storia del riconoscimento letterario italiano più ambito attraverso le straordinarie foto, alcune inedite, dell’Archivio Riccardi. Indirizzo: Piazzale di Villa Giulia, 9 - 00196 – Roma tel. +39 06 3226571; fax +39 06 3202010 Mail e sito web: [email protected]; www.villagiulia.beniculturali.it Orario: dal martedì alla domenica 9.00 - 20.00, lunedì chiuso. Ticket: intero € 8,00; ridotto € 4,00; Abbonamento per ingressi illimitati da 3 mesi (intero € 12,00; ridotto: € 6,00), 6 mesi (intero € 16,00; ridotto: € 8,00); 12 mesi (intero € 24,00; ridotto: € 12,00). GRATUITO per gli aventi diritto e per tutti LA PRIMA DOMENICA DEL MESE @VillaGiuliaRm museoetruscovillagiulia Etruschannel Clicca sui loghi per accedere direttamente ai nostri canali social MUSEO NAZIONALE ETRUSCO DI VILLA GIULIA L’appuntamento è fissato all’interno della Sala della Fortuna, al Museo Nazionale Etrusco di Villa Giulia, Piazzale di Villa Giulia, 9 a Roma, venerdì 29 giugno dalle ore 10.00.
    [Show full text]
  • Cultura I Forum Dell'espresso
    01/07/2018 diffusione:236776 Pag. 82 N.27 - 1 luglio 2018 tiratura:348760 La proprietà intellettuale è riconducibile alla fonte specificata in testa pagina. Il ritaglio stampa da intendersi per uso privato Cultura I forum dell’Espresso 01/07/2018 diffusione:236776 Pag. 82 N.27 - 1 luglio 2018 tiratura:348760 La proprietà intellettuale è riconducibile alla fonte specificata in testa pagina. Il ritaglio stampa da intendersi per uso privato Illustrazione di Ettore Viola Caccia allo a cura di SABINA MINARDI foto di Augusto Casasoli Il capolavoro che non c’è. Lo strapotere dei grandi editori. Le alleanze per vincere, alla vigilia del più prestigioso, e feroce, premio letterario. Specchio dell’Italia L’Espresso 1 luglio 2018 83 01/07/2018 diffusione:236776 Pag. 82 N.27 - 1 luglio 2018 tiratura:348760 La proprietà intellettuale è riconducibile alla fonte specificata in testa pagina. Il ritaglio stampa da intendersi per uso privato Cultura I forum dell’Espresso ome sta l’editoria italiana? Abbiamo utilizzato la finale del premio Strega per parlarne, e per discutere dei libri in gara e di ciò C che rappresentano in questa esta- te 2018: non certo una stagione qualunque, ma un tempo molto particolare dal pun- to di vista politico, sociale, civile. Con la scrittrice Elvira Seminara, il critico Alberto Asor Rosa, lo scrittore Paolo Di Paolo, l’editore Gian Arturo Fer- rari, per anni al vertice del Gruppo Mondadori, interlocutori non direttamente coin- che di gruppo o di casa editrice?), tra che ci sia un percorso di riappropriazione volti nella sfida, alla vigilia del più pre- giurati di lungo corso che storcono il di anni di fragilità a noi prossimi.
    [Show full text]
  • Italian-Spanish Contact in Early 20Th Century Argentina
    Ennis, Juan Antonio Italian-Spanish Contact in Early 20th Century Argentina Journal of language contact 2015, vol. 8, nro. 1, p. 112-145 Ennis, J. (2015). Italian-Spanish Contact in Early 20th Century Argentina. Journal of language contact, 8 (1), 112-145. En Memoria Académica. Disponible en: http://www.memoria.fahce.unlp.edu.ar/art_revistas/pr.9987/pr.9987.pdf Información adicional en www.memoria.fahce.unlp.edu.ar Esta obra está bajo una Licencia Creative Commons Atribución-NoComercial 4.0 Internacional https://creativecommons.org/licenses/by-nc/4.0/ journal of language contact 8 (2015) 112-145 brill.com/jlc Italian-Spanish Contact in Early 20th Century Argentina Juan Antonio Ennis conicet/Universidad de La Plata [email protected] Abstract This article attempts to provide a general approach to the exceptional language contact situation that took place in Argentina from the end of the 19th century until the first decades of the 20th century, in which an enormous immigration flow drastically modified the sociolinguistic landscape. This was most evident in urban environments—and among them especially the Buenos Aires area—and led the local ruling elites to set up a complex and massive apparatus for the nationalisation of the newcomers, which included a language shift in the first stage. Given that the majority of immigrants came from Italy, the most widespread form of contact was that between the local varieties of Spanish and the Italian dialects spoken by the immigrants, which led to the creation of a contact variety called Cocoliche that arose, lived then perished. Although this contact variety did not survive the early years, at least not as a full- fledged variety, the history of its emergence and the ways in which it can be studied today nevertheless make it an object of special interest for research perspectives ori- ented around the question of the early years of language contact.
    [Show full text]
  • As Andalusia
    THE SPANISH OF ANDALUSIA Perhaps no other dialect zone of Spain has received as much attention--from scholars and in the popular press--as Andalusia. The pronunciation of Andalusian Spanish is so unmistakable as to constitute the most widely-employed dialect stereotype in literature and popular culture. Historical linguists debate the reasons for the drastic differences between Andalusian and Castilian varieties, variously attributing the dialect differentiation to Arab/Mozarab influence, repopulation from northwestern Spain, and linguistic drift. Nearly all theories of the formation of Latin American Spanish stress the heavy Andalusian contribution, most noticeable in the phonetics of Caribbean and coastal (northwestern) South American dialects, but found in more attenuated fashion throughout the Americas. The distinctive Andalusian subculture, at once joyful and mournful, but always proud of its heritage, has done much to promote the notion of andalucismo within Spain. The most extreme position is that andaluz is a regional Ibero- Romance language, similar to Leonese, Aragonese, Galician, or Catalan. Objectively, there is little to recommend this stance, since for all intents and purposes Andalusian is a phonetic accent superimposed on a pan-Castilian grammatical base, with only the expected amount of regional lexical differences. There is not a single grammatical feature (e.g. verb cojugation, use of preposition, syntactic pattern) which separates Andalusian from Castilian. At the vernacular level, Andalusian Spanish contains most of the features of castellano vulgar. The full reality of Andalusian Spanish is, inevitably, much greater than the sum of its parts, and regardless of the indisputable genealogical ties between andaluz and castellano, Andalusian speech deserves study as one of the most striking forms of Peninsular Spanish expression.
    [Show full text]